The Digital Audio Access Protocol (DAAP) is the proprietary protocol introduced by Apple in its iTunes software to share media across a local network.

DAAP addresses the same problems for Apple as the UPnP AV standards address for members of the Digital Living Network Alliance (DLNA).

iTunes Server[link]

"iTunes Server" is a technical specification that some network-attached storage (NAS) drive manufacturers have included on their devices if they are DAAP enabled. This means the device allows the user to store their iTunes media folder remotely onto the NAS device, whether over a wired connection (such as USB 2.0/3.0, FireWire 400/800, Thunderbolt, etc.), or wirelessly (i.e. over a Wi-Fi connection). However, the DAAP functionality can be limited, as different device manufacturers often will not support all file formats currently supported in iTunes software, when working remotely using DAAP.

Description[link]

The DAAP protocol was originally introduced in iTunes version 4.0.^[1] Initially, Apple did not officially release a protocol description, but it has been reverse-engineered to a sufficient degree that reimplementations of the protocol for non-iTunes platforms have been possible. Recently^[when?], however, Apple has begun to license the protocol specification for commercial implementations.^[2]

A DAAP server is a specialized HTTP server, which performs two functions. It sends a list of songs and it streams requested songs to clients. There are also provisions to notify the client of changes to the server. Requests are sent to the server by the client in form of URLs and are responded to with data in application/x-dmap-tagged mime-type, which can be converted to XML by the client. iTunes uses the ZeroConf (also known as Bonjour) service to announce and discover DAAP shares on a local subnet. The DAAP service uses TCP port 3689 by default.^[3]

DAAP is one of two media sharing schemes that Apple has currently released. The other, Digital Photo Access Protocol (DPAP), is used by iPhoto for sharing images. They both rely on an underlying protocol, Digital Media Access Protocol (DMAP).

Early versions of iTunes allowed users to connect to shares across the Internet, however, in recent versions only computers on the same subnet can share music (workarounds such as port tunneling are possible). The Register speculates that Apple made this move in response to pressure from the record labels.^[4] More recent versions of iTunes also limit the number of clients to 5 unique IP addresses within a 24-hour period.

DAAP has also been implemented in other non-iTunes media applications such as Banshee, Amarok, Exaile (with a plugin), Songbird (with a plugin), Rhythmbox, and WiFiTunes.

DAAP authentication[link]

Beginning with iTunes 4.2, Apple introduced authentication to DAAP sharing, meaning that the only clients that could connect to iTunes servers were other instances of iTunes. This was further modified in iTunes 4.5 to use a custom hashing algorithm, rather than the standard MD5 function used previously. Both authentication methods were successfully reverse engineered within months of release.^[5]

With iTunes 7.0, a new 'Client-DAAP-Validation' header hash is needed when connecting to an iTunes 7.0 server. This does not affect third-party DAAP servers, but all current DAAP clients (including official iTunes before iTunes 7.0) will fail to connect to an iTunes 7.0 server, receiving a '403 Forbidden' HTTP error. The iTunes 7.0 authentication traffic analysis seem to indicate that a certificate exchange is performed to calculate the hash sent in the 'Client-DAAP-Validation' header.

As of June 2010, the iTunes 7.0 DAAP authentication still hasn't been reverse engineered, so no third-party application can stream from iTunes 7.x, 8.x, 9.x or 10.x servers.^[6]

DAAP clients[link]

DAAP servers[link]

See also[link]

• List of software using Digital Audio Access Protocol
• Digital Audio Control Protocol
• Remote Audio Output Protocol

Notes and references[link]

External links[link]

• OpenDAAP forum
• Unofficial DAAP protocol documentation
• DAAP, a C++ implementation of DAAP. (no longer developed)
• libopendaap, a C implementation of DAAP
• DAAPD, another implementation of DAAP on Unix.
• Firefly DAAP Media Server, implementation of the DAAP protocol (both video and audio) for Windows, Linux, Mac OS X and Mobile OS X (iPod touch and iPhone). No longer maintained.
• libdmapsharing, Open source GObject- and libsoup-based library that supports server- and client-side DAAP, DPAP and DACP.
• dmapd, Open source server that supports DAAP and DPAP.
• forked-daapd, a rewritten version of Firefly Media Server for Linux currently under development.
• iTunes 7.0 traffic analysis
• Tangerine is a DAAP server. It runs on Linux, Windows, and Mac OS X.
• spydaap is a cross-platform DAAP server written in Python.

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A sound wave, in gray, represented digitally, in red (after quantization and zero-order hold).

Digital audio is sound reproduction using pulse-code modulation and digital signals. Digital audio systems include analog-to-digital conversion (ADC), digital-to-analog conversion (DAC), digital storage, processing and transmission components. A primary benefit of digital audio is in its convenience of storage, transmission and retrieval.

Overview of digital audio[link]

Sampling and 4-bit quantization of an analog signal (red) using Pulse-code modulation

Digital audio is useful in the recording, manipulation, mass-production, and distribution of sound. Modern distribution of music across the Internet via on-line stores depends on digital recording and digital compression algorithms. Distribution of audio as data files rather than as physical objects has significantly reduced the cost of distribution.

In an analog audio system, sounds begin as physical waveforms in the air, are transformed into an electrical representation of the waveform, via a transducer (for example, a microphone), and are stored or transmitted. To be re-created into sound, the process is reversed, through amplification and then conversion back into physical waveforms via a loudspeaker. Although its nature may change, analog audio's fundamental wave-like characteristics remain the same during its storage, transformation, duplication, and amplification.

Analog audio signals are susceptible to noise and distortion, unavoidable due to the innate characteristics of electronic circuits and associated devices. In the case of purely analog recording and reproduction, numerous opportunities for the introduction of noise and distortion exist throughout the entire process. When audio is digitized, distortion and noise are introduced only by the stages that precede conversion to digital format, and by the stages that follow conversion back to analog.

The digital audio chain begins when an analog audio signal is first sampled, and then (for pulse-code modulation, the usual form of digital audio) it is converted into binary signals—‘on/off’ pulses—which are stored as binary electronic, magnetic, or optical signals, rather than as continuous time, continuous level electronic or electromechanical signals. This signal may then be further encoded to allow correction of any errors that might occur in the storage or transmission of the signal, however this encoding is for error correction, and is not strictly part of the digital audio process. This "channel coding" is essential to the ability of broadcast or recorded digital system to avoid loss of bit accuracy. The discrete time and level of the binary signal allow a decoder to recreate the analog signal upon replay. An example of a channel code is Eight to Fourteen Bit Modulation as used in the audio Compact Disc (CD).

Conversion process[link]

The lifecycle of sound from its source, through an ADC, digital processing, a DAC, and finally as sound again.

A digital audio system starts with an ADC that converts an analog signal to a digital signal.^{[note 1]} The ADC runs at a sampling rate and converts at a known bit resolution. For example, CD audio has a sampling rate of 44.1 kHz (44,100 samples per second) and 16-bit resolution for each channel. For stereo there are two channels: 'left' and 'right'. If the analog signal is not already bandlimited then an anti-aliasing filter is necessary before conversion, to prevent aliasing in the digital signal. (Aliasing occurs when frequencies above the Nyquist frequency have not been band limited, and instead appear as audible artifacts in the lower frequencies).

The digital audio signal may be stored or transmitted. Digital audio storage can be on a CD, a digital audio player, a hard drive, USB flash drive, CompactFlash, or any other digital data storage device. The digital signal may then be altered in a process which is called digital signal processing where it may be filtered or have effects applied. Audio data compression techniques — such as MP3, Advanced Audio Coding, Ogg Vorbis, or FLAC — are commonly employed to reduce the file size. Digital audio can be streamed to other devices.

The last step is for digital audio to be converted back to an analog signal with a DAC. Like ADCs, DACs run at a specific sampling rate and bit resolution but through the processes of oversampling, upsampling, and downsampling, this sampling rate may not be the same as the initial sampling rate.

History of digital audio use in commercial recording[link]

Pulse-code modulation was invented by British scientist Alec Reeves in 1937^[1] and was used in telecommunications applications long before its first use in commercial broadcast and recording. Commercial digital recording was pioneered in Japan by NHK, and Nippon Columbia (a.k.a. Denon) in the 1960s. The first commercial digital recordings were released in 1971.^[2]

The BBC also began experimenting with digital audio in the 1960s. By the early 1970s they had developed a 2-channel recorder and in 1972 they deployed a digital audio transmission system linking their broadcast center to their remote transmitters.^[2]

The first 16-bit PCM recording in the United States was made by Thomas Stockham at the Santa Fe Opera in 1976 on a Soundstream recorder. In 1978, an improved version of the Soundstream system was used by Telarc to produce several classical recordings. At the same time 3M was well along in development of their digital multitrack recorder based on BBC technology. The first all-digital album recorded on this machine was Ry Cooder's "Bop 'Til You Drop" which was released in 1979. In a crash program started in 1978, British record label Decca developed their own 2-track digital audio recorders. Decca released the first European digital recording in 1979.^[2]

Helped along by introduction of popular digital multitrack recorders from Sony and Mitsubishi in the early 1980s, digital recording was soon embraced by the major record companies. With the introduction of the CD by Sony and Philips in 1982, digital audio was embraced by consumers as well.^[2]

Digital audio technologies[link]

Digital audio broadcasting

• Digital Audio Broadcasting (DAB)
• HD Radio
• Digital Radio Mondiale (DRM)
• In-band on-channel (IBOC)

Storage technologies

• Digital audio player
• Digital Audio Tape (DAT)
• Compact Disc (CD)
• Hard disk recorder
• DVD Audio
• MiniDisc
• Super Audio CD
• Various audio file formats

Digital audio interfaces[link]

Audio-specific interfaces include:

• AC'97 (Audio Codec 1997) interface between Integrated circuits on PC motherboards
• Intel High Definition Audio A modern replacement for AC'97
• ADAT interface
• AES3 interface with XLR connectors
• AES47, Professional AES3-style digital audio over Asynchronous Transfer Mode networks
• I²S (Inter-IC sound) interface between Integrated circuits in consumer electronics
• MADI Multichannel Audio Digital Interface
• MIDI low-bandwidth interconnect for carrying instrument data; cannot carry sound but can carry digital sample data in non-realtime
• S/PDIF, either over coaxial cable or TOSLINK
• TDIF, TASCAM proprietary format with D-sub cable
• A2DP via Bluetooth

Naturally, any digital bus (e.g., USB, FireWire, and PCI) can carry digital audio. Also, several interfaces are engineered to carry digital video and audio together, including HDMI and DisplayPort.

In professional architectural or installation applications, many digital audio networking protocols and interfaces exist.

See also[link]

• Analog recording vs. digital recording
• Digital audio editor
• Digital audio workstation
• Digital signal processing
• Noise shaping
• Nyquist–Shannon sampling theorem
• Quantization (signal processing)
• HTML5 Audio
• Sampling (signal processing)

Notes[link]

1. ^ Some audio signals such as those created by digital synthesis originate entirely in the digital domain, in which case analog to digital conversion does not take place.

References[link]

Sources[link]

• Borwick, John, ed., 1994: Sound Recording Practice (Oxford: Oxford University Press)
• Bosi, Marina, and Goldberg, Richard E., 2003: Introduction to Digital Audio Coding and Standards (Springer)
• Ifeachor, Emmanuel C., and Jervis, Barrie W., 2002: Digital Signal Processing: A Practical Approach (Harlow, England: Pearson Education Limited)
• Rabiner, Lawrence R., and Gold, Bernard, 1975: Theory and Application of Digital Signal Processing (Englewood Cliffs, New Jersey: Prentice-Hall, Inc.)
• Watkinson, John, 1994: The Art of Digital Audio (Oxford: Focal Press)

Dave Way is a successful mixer, producer and audio engineer, based in Los Angeles, California. He has worked with Fiona Apple, Sheryl Crow, Pink, Christina Aguilera, Macy Gray, Ringo Starr, Shakira, Savage Garden, Michael Jackson, Spice Girls, Babyface, TLC, Toni Braxton, Boyz II Men, Ziggy Marley, Paul McCartney, Mick Jagger, Stevie Wonder, Taylor Hicks, Chris Botti, Andrew WK, Foo Fighters, Kool Moe Dee, Heavy D. & The Boyz, Ayumi Hamasaki, Creed Bratton and many more. He is a three-time Grammy award winner. He is also co-writer of the number one single "I Like the Way (The Kissing Game)" by the group Hi-Five (1991).^[1]

Dave works mainly at his own private studio called Waystation Studio and also is co-owner of a commercial studio in LA called The Pass Studios (formerly known as Larrabee East and Andora studios). He is managed by Frank McDonough at McDonough Management.

References[link]

External links[link]

• Official Website
• McDonough Management: Dave Way

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